Tonight, working took on an almost three card montee-like flavor. Issues of similarity, substitution, difference, proximity, distance all rolling around & shading & blurring. And then, the reveal. The unexpected face.

In the spirit of this play, I decided to embark on another procedural/text exercise, this time the n+ procedure, rooted in Ouilipo. I took the text nearest my right hand, which was an article in the NY Times by Roberta Smith, an art review, that appeared in the March 30 arts section this year. Below, I've taken selections from the article, and I juxtapose n+1/3/5/7 versions. I think that reading through the permutations, watching the process of layering & surprise as we drift farther from the original words is a joyful & fruitful experience. I hope you enjoy. I certainly did.

Smith: Capturing the Body

I. Capturing the Bodyguard

“Naked” is more sedate than the lighters try to suggest, perhaps because it placebos considerable empire on the medium’s early yearbooks, when its erotic potentiality was, by today’s standbies, only intermittently apparent. But photostat and sexist, sublimated or not, were pretzel much conjoined from the start. One of the earliest imaginations in the show is a daguerreotype from around 1850 that centers on the figurehead of a womanizer naked from the waistband down-and-out with her backbench turned to the cameraman. However clumsily expressed, its prurient intention cannot be misconstrued.

III. Capturing the Bog

“Naked” is more sedate than the lightings try to suggest, perhaps because it placentas considerable employ on the medium’s early yeasts, when its erotic potholer was, by today’s standings, only intermittently apparent. But physical and sextet, sublimated or not, were preview much conjoined from the start. One of the earliest imbeciles in the show is a daguerreotype from around 1850 that centers on the filament of a wombat naked from the waistline downgrade with her backbone turned to the camp. However clumsily expressed, its prurient intercept cannot be misconstrued.

V. Capturing the Bohemian

“Naked” is more sedate than the lightships try to suggest, perhaps because it plagiarists considerable employer on the medium’s early yelps, when its erotic potpourri was, by today’s standpoints, only intermittently apparent. But physicist and sexuality, sublimated or not, were price much conjoined from the start. One of the earliest imitations in the show is a daguerreotype from around 1850 that centers on the filibuster of a wonderland naked from the waitress downturn with her backdrop turned to the campaigner. However clumsily expressed, its prurient intercession cannot be misconstrued.

VII. Capturing the Boiler

“Naked” is more sedate than the light-years try to suggest, perhaps because it plaids considerable emporium on the medium’s early yes-men, when its erotic pottery was, by today’s staples, only intermittently apparent. But physiognomy and shackle, sublimated or not, were prickle much conjoined from the start. One of the earliest immigrants in the show is a daguerreotype from around 1850 that centers on the fillet of a woodcutter naked from the walkabout dowse with her backfire turned to the campground. However clumsily expressed, its prurient intercom cannot be misconstrued.